In the past, the question of the formal and functional context of sculpture and nunneries around the year 1300 has been predominantly confined to the Alemannic nunneries. This text focuses on Nordic sculpture. The medieval grounds of the Luneberg nunnery and their fittings represent an unusual legacy, deriving from the heyday of women's mysticism and the expansion of the system of territorial sovereignty.

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholder's experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years.

Patricia Wengraf is one of the world's leading dealers in bronzes, sculpture and works of art. In her particular speciality, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. This exquisite catalogue - the first sales catalogue ever published by the dealer - presents a selection of exceptional works. Accompanies an exhibition in New York City.

Learning to Look at Sculpture is an accessible guide to the study and understanding of three dimensional art. Sculpture is all around us: in public parks, squares, gardens and railway stations, as part of the architecture of buildings, or when used in commemoration and memorials and can even be considered in relation to furniture and industrial design. This book encourages you to consider the multiple forms and everyday guises sculpture can take.

Exploring Western sculpture with examples from antiquity through to the present day, Mary Acton shows you how to analyse and fully experience sculpture, asking you to consider questions such as What do we mean by the sculptural vision? What qualities do we look for when viewing sculpture? How important is the influence of the Classical Tradition and what changed in the modern period? What difference does the scale and context make to our visual understanding?

With chapters on different types of sculpture, such as free-standing figures, group sculpture and reliefs, and addressing how the experience of sculpture is fundamentally different due to the nature of its relationship to the space of its setting, the book also explores related themes, such as sculpture s connection with architecture, drawing and design, and what difference changing techniques can make to the tactile and physical experience of sculpture.

Richly illustrated with over 200 images, including multiple points of view of three dimensional works, examples include the Riace bronzes, Michelangelo s "David," Canova s "The Three Graces," medieval relief sculptures, war memorials and works from modern and contemporary artists, such as Henry Moore, Cornelia Parker and Richard Serra, and three-dimensional designers like Thomas Heatherwick.

A glossary of critical and technical terms, further reading and questions for students, make this the ideal companion for all those studying, or simply interested in, sculpture."

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300 700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition s architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE."

Few monuments have fascinated people as much as the Parthenon. Two and a half millennia after its construction, this monument continues to generate important research across a wide range of fields, from classics and art history to archaeology and the physical sciences. This book, which grows out of a conference held at the University of Missouri, St. Louis, presents the latest developments in Parthenon research by an international cast of scholars and scientists. It offers new interpretations of some of the most crucial issues, ranging from the authorship of the frieze to the reconstruction of its missing sculpture, as well as the sociopolitical context in which the monument was created and the application of new technologies in Parthenon studies. Showcasing the most up to date research on the Parthenon, this book not only presents the current state of Parthenon studies but also marks the future direction of scholarship.

This volume addresses the question of the relation between sculpture and coins--or large statuary and miniature art--in the private and public domain. It originates in the Harvard Art Museums 2011 Ilse and Leo Mildenberg interdisciplinary symposium celebrating the acquisition of Margarete Bieber's coin collection. The papers examine the function of Greek and Roman portraiture and the importance of coins for its identification and interpretation. The authors are scholars from different backgrounds and present case studies from their individual fields of expertise: sculpture, public monuments, coins, and literary sources. Sculpture and Coins also pays homage to the art historian Margarete Bieber (1879-1978) whose work on ancient theater and Hellenistic sculpture remains seminal. She was the first woman to receive the prestigious travel fellowship from the German Archaeological Institute and the first female professor at the University of Giessen. Dismissed by the Nazis, she came to the United States and taught at Columbia. This publication cannot answer all the questions: its merit is to reopen and broaden a conversation on a topic seldom tackled by numismatists and archaeologists together since the time of Bernard Ashmole, Phyllis Lehmann and Leon Lacroix.

There is no soundtrack is a study of how sound and image produce meaning in contemporary experimental media art by artists ranging from Chantal Akerman to Nam June Paik to Tanya Tagaq. It contextualises these works and artists through key ideas in sound studies: voice, noise, listening, the soundscape and more. The book argues that experimental media art produces radical and new audio-visual relationships challenging the visually dominated discourses in art, media and the human sciences. In addition to directly addressing what Jonathan Sterne calls 'visual hegemony', it also explores the lack of diversity within sound studies by focusing on practitioners from transnational and diverse backgrounds. As such, it contributes to a growing interdisciplinary scholarship, building new, more complex and reverberating frameworks to collectively sonify the study of culture. -- .

Insists on the importance of embodiment and movement to the creation of Black sociality Linking African diasporic performance, disability studies, and movement studies, Falling, Floating, Flickering approaches disability transnationally by centering Black, African, and diasporic experiences. By eschewing capital’s weighted calculus of which bodies hold value, this book centers alternate morphologies and movement practices that have previously been dismissed as abnormal or unrecognizable. To move beyond binaries of ability, Hershini Bhana Young traverses multiple geohistories and cultural forms stretching from the United States and the Mediterranean to Sierra Leone, Nigeria, and South Africa, as well as independent and experimental film, novels, sculptures, images, dance, performances, and anecdotes. In doing so, she argues for the importance of differential embodiment and movement to the creation and survival of Black sociality, and refutes stereotypic notions of Africa as less progressive than the West in recognizing the rights of disabled people. Ultimately, this book foregrounds the engagement of diasporic Africans, who are still reeling from the violence of colonialism, slavery, poverty, and war, as they gesture toward a liberatory Black sociality by falling, floating, and flickering.

This book takes as its subject the most important kind of surviving post-Reformation church art and the most important genre of English Renaissance sculpture, the carved stone funeral monument. These complex constructions, comprising not just sculpted figures but also architectural framing, heraldic decoration and inscribed text, were set up in huge numbers during the years around 1600 and still survive in their thousands in parish churches across England. This is a comprehensive account of the subject, Llewellyn examines the place of the tomb in the historiography of English art, issues of patronage and the business of erecting a monument, the tomb-makers, their world and the materials, and Reformist iconoclasm in England and its impact on the tombs. The volume is lavishly illustrated with rare photographs of tombs and monuments and offers a valuable and informative record of one of England's greatest treasures.

The work of Slovak sculptor Maria Bartuszova (1936-96) was first presented to international audiences in Kassel in 2007. Although her art has appeared in influential exhibitions and been included in prestigious contemporary art collections, up until now, she has yet to receive the widespread recognition she deserves. Dziewanska's book offers distinct perspectives on Bartuszova's work from renowned international critics in an effort to increase our awareness of her sculptures. Working alone behind the Iron Curtain, Bartuszova was one of a number of female artists who not only experimented formally and embarked intuitively on new themes, but who, because they were at odds with mainstream modernist trends, remained in isolation or in a marginalized position. Revealing her dynamic treatment of plaster-a material that, from a sculptor's point of view, is both primitive and common-the book deftly reveals how Bartuszova experimented with materials, never hesitating to treat tradition, accepted norms, and trusted techniques as simply transitory and provisional. Offering a much-needed history of a vibrant body of work, Maria Bartuszova: Provisional Forms is an important contribution to the literature on great female artists.

A new book, expanded from the 1995 first edition, describing detailed, step-by-step procedures for sculpting, molding and painting original prehistoric animals, emphasising the use of relatively inexpensive materials including oven-hardening polymer clay and wire. Additional tips are offered on how to build distinctive dino-dioramas and scenes involving one's own original sculptures that you will learn how to conceive and build. This book will appeal to - and inspire - the latest generation of prospective prehistoric animal lovers who would like to break into the industry of paleosculpture. Techniques range from the ""basic"" to ""advanced."" The authors also discuss what it means to be a ""paleoartist,"" both in the past and present.

In this volume, Stephanie M. Langin-Hooper investigates the impact of Greek art on the miniature figure sculptures produced in Babylonia after the conquests of Alexander the Great. Figurines in Hellenistic Babylonia were used as agents of social change, by visually expressing and negotiating cultural differences. The scaled-down quality of figurines encouraged both visual and tactile engagement, enabling them to effectively work as non-threatening instruments of cultural blending. Reconstructing the embodied experience of miniaturization in detailed case studies, Langin-Hooper illuminates the dynamic process of combining Greek and Babylonian sculpture forms, social customs, and viewing habits into new, hybrid works of art. Her innovative focus on figurines as instruments of both personal encounter and global cultural shifts has important implications for the study of tiny objects in art history, anthropology, classics, and other disciplines.

Public Sculpture of Lancashire and Cumbria is a fascinating book that provides much needed attention to the best public sculpture and monuments in these north-west counties. With an invaluable introduction and notes, the author highlights in particular works of art that are in need of restoration or protection by local authorities and other owners.The art works included are mostly in urban areas however some are tucked away on moors and hilltops, and can be reached by a modest walk, and are thus less familiar. Many entries are accompanied by original photographs, often showing details of the craftsmanship. This book highlights the brilliant work of local sculptors, including several women, who have been neglected over the years and were suppressed by the usual dominance of craftsmen from London and the south east. Their biographies appear at the end of the book.Locations of the public sculpture are given and each dedicated entry provides a description and the measurements of the sculpture; records its inscriptions and its condition; the reason for its commemoration; the chief advocate and process of the commission; its sources of funding and cost; the choice of artist and source of the materials; the relationship between the artist and the architect; the name of the bronze founder or builder; the historical and political context; and the date and details of the unveiling ceremony.

What do Greek myths mean and how was meaning created for the ancient viewer? In Art, Myth and Ritual in Classical Greece, Judith Barringer considers the use of myth on monuments at several key sites - Olympia, Athens, Delphi, Bassai, and Trysa - showing that myth was neither randomly selected nor purely decorative. The mythic scenes on these monuments had meaning, the interpretation of which depends on context. Barringer explains how the same myth can possess different meanings and how, in a monumental context, the mythological image relates to the site and often to other monuments surrounding it, which redouble, resonate, or create variation on a theme. The architectural sculpture examined here is discussed in a series of five case studies, which are chronologically arranged and offer a range of physical settings, historical and social circumstances, and interpretive problems. Providing new interpretations of familiar monuments, this volume also offers a comprehensive way of seeing and understanding Greek art and culture as an integrated whole.

What do Greek myths mean and how was meaning created for the ancient viewer? In Art, Myth and Ritual in Classical Greece, Judith Barringer considers the use of myth on monuments at several key sites - Olympia, Athens, Delphi, Bassai, and Trysa - showing that myth was neither randomly selected nor purely decorative. The mythic scenes on these monuments had meaning, the interpretation of which depends on context. Barringer explains how the same myth can possess different meanings and how, in a monumental context, the mythological image relates to the site and often to other monuments surrounding it, which redouble, resonate, or create variation on a theme. The architectural sculpture examined here is discussed in a series of five case studies, which are chronologically arranged and offer a range of physical settings, historical and social circumstances, and interpretive problems. Providing new interpretations of familiar monuments, this volume also offers a comprehensive way of seeing and understanding Greek art and culture as an integrated whole.

In this book, Rachel Kousser draws on contemporary reception theory to present a new approach to Hellenistic and Roman ideal sculpture. She analyzes the Romans' preference for retrospective, classicizing statuary based on Greek models as opposed to the innovative creations prized by modern scholars. Using a case study of a particular sculptural type, a forceful yet erotic image of Venus, Kousser argues that the Romans self-consciously employed such sculptures to represent their ties to the past in a rapidly evolving world. Kousser presents Hellenistic and Roman ideal sculpture as an example of a highly effective artistic tradition that was, by modern standards, extraordinarily conservative. At the same time, the Romans' flexible and opportunistic use of past forms also had important implications for the future: it constituted the origins of classicism in Western art.

Subject to passionate controversy during his lifetime, the work of Joseph Beuys is now considered one of the most significant and influential contributions to twentieth-century fine arts. This book provides a survey of Beuys's oeuvre, which he viewed as part of a larger, philosophically based practice emphasising direct democracy, free access to education and the restructuring of society to meet ecological requirements. A total of 152 works from Beuys's many fields of activity - drawings and watercolours, prints and multiples, sculpture and objects, spaces and actions - are arranged in chronological order, demonstrating the artist's formal versatility, creative richness and conceptual depth. The peculiar poetry of the materials Beuys used - felt, grease, honey, wax, copper and sulfur - emerges along with the gentle melancholy suffusing the work of this sensitive agent provocateur. Alain Borer analyses Beuys's motivation with special reference to the artist's written and spoken statements. The book is an informed introduction to the artistic work and conceptual world of Joseph Beuys, for anyone interested in art.

Examines the styles and contexts of portrait statues produced during one of the most dynamic eras of Western art, the early Hellenistic age. Often seen as the beginning of the Western tradition in portraiture, this historical period is here subjected to a rigorous interdisciplinary analysis. Using a variety of methodologies from a wide range of fields - anthropology, numismatics, epigraphy, archaeology, history, and literary criticism - an international team of experts investigates the problems of origins, patronage, setting, and meanings that have consistently marked this fascinating body of ancient material culture.